"Combining the sensitivity of an artist and a camera skill that theoretically only professional experts could acquire, Robert P. Kehoe has produced, in Chromatic Rhapsody, a film that would command the amazed admiration of any movie club in the country. This beautiful picture can only be described as a scenic — a scenic held together rather tenuously by editing to create a symphonic arrangement of color and to associate scenes with the seasons. It is in the sheer beauty of color cinematography that Chromatic Rhapsody excels. This reviewer has never seen, in any medium, more gorgeous color photographs of autumnal foliage and winter landscapes. One is so impressed with the flawless color that he is inclined to suspect that nature puts on a special show for Mr. Kehoe. The truth is probably that Mr. Kehoe has a special understanding of nature and an intuitional sensitivity to light and color. For the rest, as Mr. Kehoe would say, he simply follows exposure instructions. The film is marred somewhat by lack of complete camera steadiness, the only flaw in an otherwise superb cinematic accomplishment. A charming musical score, arranged by double turntable, accompanies the movie's presentation." Movie Makers, Dec. 1939, 634.
"The producers of 'Chronicle' must be commended for a novel treatment. They employed the hands only to show the life of a boy from his third birthday until maturity. Into this novel treatment they spun a story of the boy's downfall until he is found guilty of murder and is incarcerated. All of it was interior and was well photographed." American Cinematographer, Jan. 1936, 40.
"Una cinta cargada de referencias a Jean-Luc Godard (Los Carabineros, 1963) pero sobre todo concentrada en la crítica mordaz al radicalismo de izquierda. Una vez más Marco Antonio Madrid hace el papel de protagonista, un joven de pelo largo, pantalón de mezclilla y saco, que se dedica a ligar en los cafés de la Zona Rosa adoctrinando a las mujeres. Lee a Marx después de hacer el amor, y se junta con sus amigos para brindar por "la muerte de la intelectualidad burguesa". Montero utiliza intertítulos como recurso irónico, una suerte de narrador externo que interpela la historia: "¿Qué es la intelectualidad burguesa?". La lucha revolucionaria del joven y sus amigos está teñida de sentido del humor. En una secuencia que recuerda mucho a Los Carabineros, suben al techo de una fábrica para iniciar la lucha armada (...) Por último un cartel proporciona una última burla: "Y si el sol es burgués detendremos al sol" " (Vázquez Mantecón, 2012).
"A film loaded with references to Jean-Luc Godard (The Carabineers, 1963), but above all focused on biting criticism to the radical left. Once again Marco Antonio Madrid plays the role of the lead character, a young man with long hair, jeans and coat, that dedicates his time to hook up in the coffee shops of the Zona Rosa indoctrinating women. He reads Marx after making love and he gets together with his friends to toast for the "death of the bourgeois intellectuality". Montero uses intertitles as a resource for irony, a sort of outside narrator that interpellates the story: "What is bourgeois intellectuality?". The revolutionary fight of the young man and his friends is filled with a sense of humor. In a sequence that reminds us of The Carabineers, they go to the rooftop of a factory to begin the armed fight. (...) Finally a sign shows one last derision "And if the sun is bourgeois, we will stop the sun" " (Vázquez Mantecón, 2012).
"Robert Fels and his associates have made in Cine Whimsy a sound motion picture unlike anything that has seen the screen previously. Its plot is based on the literal picturization of figures of speech and, when the characters in this movie "lose their heads," they actually do! Similarly, when the heroine "hits the ceiling," she does just that and, when the hero "pulls the wool over her eyes," he does so with the aid of a ball of yarn. We could go on citing this kind of thing indefinitely without revealing the picture's true quality, which lies in a surrealist treatment, always ingenious and sometimes fantastic. The priest who rises from the cactus to "hitch" the headless couple who are hauling a cart on a barren road represents the kind of imagery that is typical of the film. The sound track is a brilliant combination of commentation and "fake" lip synchronism. Mr. Fells conceived and directed the picture; Newell Tune filmed it, and Norman Johnson collaborated on the shooting script. Mr. Tune's trick work is among the best yet produced on 16mm." Movie Makers, Dec. 1942, 507-508.
"A record of the Toronto Film Society's visit to George Eastman House in Rochester, New York. Includes re-filmed excerpts from some of the classic films screened for the society members during their visit" British Columbia Archives.
"A Margaret Conneely amateur film starring St. Tarcissus’ Cub Scout Pack 3969 in a circus production. Children dress as both circus animals and performers." Chicago Film Archives
"Tackling the circus in broad daylight is a brave undertaking for the most advanced amateur. The lack of dramatic lighting and exciting colors found at night exhibitions or in darkened auditoriums puts the burden of making an interesting film squarely on the filmer. George Merz, in his Circus Time, has overcome these obstacles ably and with imagination. Highly competent camera work and excellent editing mark every foot of Circus Time. When the action threatens to lag, Mr. Merz knowingly inserts audience reaction shots of high human interest. A colorful musical score adds an extra fillip of excitement to moments that might otherwise become static." Movie Makers, Dec. 1950, 464.
El filme muestra a una mujer esperando en su casa, tocando música, leyendo y acordando por el teléfono verse con alguien. Ella ve a una amiga y le dice que su novio, un hombre llamado Javier, está fuera de la ciudad por negocios. Primero van a una feria y después a un bar llamado El Pez Rojo, donde escuchan a una banda en vivo y toman algunos tragos, eventualmente ven que Javier está ahí bailando con otra mujer. Se van y Javier se queda bailando, después aparecen diversas imágenes de letreros de clubes nocturnos. Después se ve Javier manejando por la mañana con la otra mujer y deteniéndose a fumar un cigarro mientras es visto por su novia y su amiga. Mientras la pareja discute, la amiga de la primera mujer golpea a Javier en la cabeza con un arma. Después el filme corta a una escena de la primera mujer despertando y abriendo la puerta a sus amigas, mismas que reclaman haberla esperado demasiado, a lo que responde que se quedó atrapada por una historia que estaba leyendo, implicando que todo había sido producto de su imaginación.
The film shows a woman waiting in her house, playing music, reading and agreeing to see someone over the phone. She meets with a friend and tells her that her boyfriend, a man named Javier, is out of town on business. They first go to the fair and then to a bar called El Pez Rojo [The Red Fish] where they listen to a live band and have drinks, eventually they see that Javier is there dancing with another woman. They leave and Javier keeps dancing, then a series of images of several night clubs signs appear. Javier is then seen driving in the morning with the woman and stopping to smoke a cigar, where he is seen by his girlfriend and her friend. While the couple fights, the friend of the first woman hits Javier in the head with a gun. Then we see the woman waking up and opening the door to her friends who claim that she has kept them waiting for too long, and she says she got caught up in the story of the book she was reading, implying it was all a product of her imagination.
"Shows various types of commerce and industry in Victoria, including a large department store, a milk bottling plant, a beauty parlour, offices, garbage collection, a weaver's shop, a bakery, etc." (Duffy, 84).
Other sequences included the Ogden Point grain elevators, Royal Jubilee Hospital, shipyards, a plywood plant, and carpet factory. Nanaimo Daily News, 26 October 1953, p. 5.
Total Pages: 203
Amateur Cinema